The Kid with a Bike, Gerhard Richter Painting, John Carter and Zulawski’s ‘The Devil’ on Monday Morning Diary (March 19)

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The Kid with a Bike, Gerhard Richter Painting, John Carter and Zulawski’s ‘The Devil’ on Monday Morning Diary (March 19)

March 19, 2012 by wondersinthedark

Screen capture from extraordinary "The Kid with a Bike" by Belgium's Dardanne brothers.

by Sam Juliano

Balmy weather that has had temperatures rising above 70 degrees in the northeast has basically sounded the death knell for Winter 2011-12, though there are some skeptics who warn not to count your chickens just yet. Baseball season is around the corner, and some have even started plotting their summer vacations. And with Easter break just weeks away still others are gearing up for a well-earned respite and short trips. On the downside those with allergies are looking at what some experts are predicting will be the worst readings on record.

Sunday of course was St. Patrick’s Day and the sidebar greetings were posted by our dearest friend, Dee Dee, who typically keeps an eye out for the calendar. Hope our Irish friends enjoyed a very special day.

The site’s regular contributors continued to post some stellar work over the psts seven days. This includes our Chilean university student wunderkind Jaimie Grijalba, who offered up two superlative animation reviews, Jim Clark with a magisterial essay on Von Trier’s Breaking the Waves, Allan’s rare finds, and the continuing year-by-year survey of the cinema from the silent era to the present. Here in NYC the Tribeca Film Festival committee have announced the schedule, and generally speaking some quality films are beginning to release on the art house circuit.

After several weeks of torrid activity this past week were negotiated at a much more leisurely pace, even with four visits to the theatres, one in Brooklyn, New York.

Lucille and I saw:

John Carter *** 1/2 (Tuesday night) Edgewater multiplex

Gerhard Richter Painting **** (Thursday night) Film Forum

The Kid with a Bike **** 1/2 (Saturday night) IFC Film Center

The Devil **** 1/2 (Friday night) Brooklyn Academy of Music

JOHN CARTER is an epic science-fiction adventure based on a story by “Tarzan” author Edgar Rice Burroughs. Set on Mars seen as a dying planet at a time when the inhabitants travel in flying machines, the film is loads of fun, with a largely engaging script, characters and performances, and while there is some major indeptedness, the tone and the pacing seems just right. GERHARD RICHTER PAINTING is a remarkable documentary that disavows talking heads, opting instead to explore the work-in-progress aspects of the still-living art master and events fascinating discussions with the man about his craft. It reminds us of a certain masterpiece from Jacques Rivette, which similarly rivets with every stroke. Richter’s use of boards and large canvases is quite a sight to behold. THE KID WITH A BIKE is the latest humanist parable from the genius Dardenne brothers, who have yet to make any film that rates less than very impressive. The latest features an amazing performance by young Thomas Doret as an 11 year-old boy who is abandoned by his father, and taken under the wing of a compassionate woman who must learn the hard way of the capriciousness of children, who are easily suseptible to the forces of corruption. The film has a quiet power, with Dickensinian narrative strokes and the raw emotional power of Italian neo-realism. It’s about innocence, betrayal, redemption and the healing power of love, and the final sequence directly recalls the implications of Bicycle Thieves. The film contends in my view for best work by these extraordinary Belgian artists, and it’s certainly one of the two or three best films of the year to this point. Andrzej Zulawski’s THE DEVIL, released in 1972, was shown twice over the weekend at the Brooklyn Academy of Music (BAM) as part of a comprehensive retrospective on the distinguished Polish art house director. Zulawski was originally scheduled to speak, but he was forced to cancel plans to fly into the USA in deference to some private matters. The surrealist, shocking and depraved THE DEVIL is usually considered to be his masterwork, and like Ken Russell’s own film with the same title in the plural, it’s one that disturbs. Yet the stark canvas is extraordinary, and the film’s perversity and rage overwhelming. It’s clearly a political attack, veiled in a medieval setting, and there’s an compelling allegorical underpinning and some unforgettable characters including a revolting midget. The film is unforgettable, and the print and subtitling were quite good.

I also have begun watching the First Season blu-ray set of THE GAME OF THRONES, and must say it’s most impressive. I watched the Korean film A HOMETOWN IN HEART (which Allan reviewed this past week) and thought it a quality work at ****. Allan was even more impressed with it.

Nearly all links have been updated:

John Greco is sporting a beautiful new look to Twenty Four Frames which has launched with a stupendous review of 1965’s “The Cincinnati Kid”: http://twentyfourframes.wordpress.com/2012/03/16/the-cincinnati-kid-1965-norman-jewison/

Jon Warner continues his splendid work on Powell & Pressberger with a splendid essay on the often overlooked early film “49th Parallel” at Films Worth Watching: http://filmsworthwatching.blogspot.com/2012/03/49th-parallel-1941-directed-by-michael.html

Craig Kennedy at Living in Cinema has authored an absolutely beautiful review of the Dardennes’ “The Kid with a Bike”: http://livingincinema.com/2012/03/16/the-kid-with-a-bike-2012/

Tony d’Ambra at FilmsNoir.net has penned a fascinating new study of the psychology of the gangster in film noir at FilmsNoir.net: http://filmsnoir.net/film_noir/at-the-crossroads-blind-alley-1939-and-13-east-street-uk-1952.html

Judy Geater has written another exceptional piece on a William Wellman film at Movie Classics with a treatment of 1942’s “Roxie Hart”: http://movieclassics.wordpress.com/2012/03/11/roxie-hart-william-a-wellman-1942/

Jaimie Grijalba, that tireless writer and purveyor of culture, filmmaking and politics takes an acute look at John Carpenter’s horror classic “Halloween” at Exodus: 8:2: http://exodus8-2.blogspot.com/2012/03/imagen-tiempo-el-vacio-y-halloween.html

Samuel Wilson at Mondo 70 has penned another marvelous entry in his “Pre-Code Parade” series with a perceptive essay on the rarely seen Tracy-Davis pairing in Michael Curtiz’ “20,000 years in Sing Sing”: http://mondo70.blogspot.com/2012/03/pre-code-parade-20000-years-in-sing.html

Ed Howard continues his incomparable survey of the silent era with a brilliantly penned and comprehensive treatment of the classic “The Cabinet of Dr. Caligari” at Only the Cinema: http://seul-le-cinema.blogspot.com/2012/03/cabinet-of-dr-caligari.html

Sachin Gandhi has authored a stupendous essay at Scribbles and Ramblings on “Miss Bala”: http://likhna.blogspot.com/2012/03/miss-bala.html

Peter Lenihan has some telling quotes up at The Long Voyage Home aimed at “For All Y’All Fordians”: http://thelongvoyagehome.blogspot.com/2012/03/for-all-yall-fordians.html

David Schleicher has penned an excellent review of Tony Kaye’s “Detachment” at The Schleicher Spin: http://theschleicherspin.com/2012/03/10/detachment/

Murderous Ink at Vermillion and One Nights broaches Japanese television during the tranasition period in a brilliant and fascinating essay: http://vermillionandonenights.blogspot.com/2012/03/100-million-idiots.html

Laurie Buchanan talks about memorable car drives in her wonderful post “Kiss Me Quick” at Speaking From The Heart: http://holessence.wordpress.com/2012/03/13/kiss-me-quick/

Some turbulent weather continues on Mayne Island as reported on the Creativepotager’s blog with “The Edge of the Storm: http://creativepotager.wordpress.com/2012/03/15/edge-of-the-storm/

Stephen Russell-Gebbett looks at one telling image in Kubrick’s “The Shining” at Checking on my Sausages: http://checkingonmysausages.blogspot.com/2012/02/shining-looking-at-one-image.html

R.D. Finch at The Movie Projector takes an engaging look at “Seven Songs That Should Have Won the Oscar”: http://themovieprojector.blogspot.com/2012/02/five-songs-that-should-have-won-oscar.html

Pat Perry takes a candid and insightful look at “The Iron Lady” and Meryl Streep’s performance in her new multi post at Doodad Kind of Town: http://doodadkindoftown.blogspot.com/2012/02/on-big-screen-and-home-screen-capsule.html

Roderick Heath has penned a remarkably accomplished and comprehensive essay of “Superman” at Ferdy-on-Films: http://www.ferdyonfilms.com/?p=13500

“Explore the Dancing Image: Top Posts” is leading the way at Joel Bocko’s rich treasure trove at The Dancing Image: http://thedancingimage.blogspot.com/2011/12/explore-dancing-image-top-posts.html

Shubhajit has authored a terrific review on Eric Rohmer’s “Chloe in the Afternoon” at Cinemascope: http://cliched-monologues.blogspot.com/2012/03/chloe-in-afternoon-1972.html

Dee Dee has posted a wonderfully informative oust on the noir “Jewel in the Crown” and accompanying lobby cards at Darkness Into Light: http://noirishcity.blogspot.com/2012/02/holding-auction-month-jewel-in-crown.html

Patricia at Patricia’s Wisdom is leading up with an ever-thoughtful post “If Wishes Were Horses”: http://patriciaswisdom.com/2012/03/if-wishes-were-horses/comment-page-1/#comment-24611

Filmmaker Jeffrey Goodman at The Late Lullaby has posted a stupendous round-up of the best cinematic experiences he’s enjoyed in 2011: http://cahierspositif.blogspot.com/2012/01/my-top-10-or-so-films-for-2011.html

J.D. at Radiator Heaven offers up an engaging and comprehensive essay on “Re-Animator”: http://rheaven.blogspot.com/2012/03/re-animator.html

Anu at The Confidential Report has checked in with a fabulous Ten Best list that fully warrants everyone’s attention: http://theconfidentialreport.wordpress.com/2012/01/09/top-ten-of-2011

Just Another Film Buff (Srikanth) has posted a seductive screen cap display of Kaneto Shindo’s “Kuroneko” at The Seventh Art: http://theseventhart.info/2012/03/11/a-fearful-symmetry/

Hokahey insightfully writes about “We Need to Talk About Kevin” at Little Worlds: http://hokahey-littleworlds.blogspot.com/2012/03/enigma-of-kevin-we-need-to-talk-about.html

Jason Marshall talks about the ‘Best of 2011’ at Movies Over Matter: http://moviesovermatter.com/2012/02/19/a-brief-look-at-the-best-of-2011/

Tony Dayoub has posted an excellent feature on “The Assassination of Sterling Hayden by the Auteur Francis Coppola” at Cinema Viewfinder: http://www.cinemaviewfinder.com/2012/03/assassination-of-sterling-hayden-by.html

At The Cooler, Jason Bellamy has an exceedingly popular feature leading the way titled “The Eyes of March”: http://coolercinema.blogspot.com/2012/03/eyes-of-march-2012.html

Adam Zanzie at Icebox Movies talks about ‘Verhoeven on The Last Express’: http://www.iceboxmovies.blogspot.com/2012/03/verhoeven-on-last-express.html

Michael Harford, the erstwhile ‘Coffee Messiah’ offers up an engaging video about the beverage’s worldwide popularity: http://coffeemessiah.blogspot.com/2011/11/coffee-break.html

Troy Olson announces plans to commence with his Robert Bresson project at Elusive as Robert Denby: http://troyolson.blogspot.com/2011/11/argh.html

At Petrified Fountain of Thought Stephen Morton has penned a masterful takedown of “Melancholia” http://www.petrifiedfountainofthought.blogspot.com/2012/01/review-melancholia.html

Kevin Olson has penned a truly fantastic essay on Ingmar Bergman’s “Through A Glass Darkly” at Hugo Stiglitz Makes Movies: http://kolson-kevinsblog.blogspot.com/2012/03/through-glass-darkly.html

Dave Van Poppel is gearing for some updates at Visions of Non Fiction, but presently is still leading up with his very fine review of “Project Nim”: http://visionsofnonfiction.blogspot.com/2011/08/project-nim.html

At The Man From Porlock Craig insightfully explores “Warrior” and “The Trip”: http://themanfromporlock.blogspot.com/2012/03/oh-brother-warrior-and-trip.html

Jeopardy Girl has some great plans in 2013 with a vist to the U.K. in the cards. She talks about it at The Continuing Saga of Jeopardy Girl: http://jeopardygirl.wordpress.com/2012/01/23/pickmeup/

68 Responses

on March 19, 2012 at 4:42 am | Reply Maurizio Roca

I love how a slow week for you is “only” four visits to the theater Sam lol. Haven’t commented on the Diary for a while, though I have seen plenty of films. Haven’t been to the movies since The Woman In Black which was quite a while ago. The Kid With A Bike will probably signal my return to the big screen sometime this week. I’m very interested in catching up with that one. What I’ve seen in the past month or so that I can remember….

Hammett (82) ***
The People Vs George Lucas ****
Classe Tous Risques *****
Paradise Lost 3: Purgatory ****
The Aura ***1/2
Mr Klein *****
La Haine ***1/2
The Return (2003) ****
The Double Life Of Veronique ****1/2
La Nuit Du Carrefour ****
Shoot The Piano Player ****
Tabloid (2010) ****

I forgot to email you about the condition of my copy of Renoir’s Carrefour Sam. I would say that overall the visual/audio quality is spotty and erratic but infinitely better than a public domain Alpha/Image dvd. Some scenes look fine, but others are excessively murky. I wouldn’t say that the condition of the print spoils the overall viewing, but naturally it would be nice if a reputable company (Criterion perhaps) could remaster and produce a superior version of Renoir’s 1932 film. The packaging is decent and not an eye sore by any means.
- on March 19, 2012 at 5:52 am | Reply Bob Clark
  
  Believe it or not, somebody actually gave me the Lucas documentary as a Christmas gift, which knowing my taste in films would be a little like if somebody gave me “Atlas Shrugged” just because somebody thought I was political (though somebody did just that, one year– I had a good long time tearing it up). Thankfully, the receipt was kept, and I got cash back from the store that I was able to spend on the Miyazaki fest at the IFC a few months back. A far better use of the money, I think anyone would agree.
  
  As for what I saw this weekend– “Secret of the Kells” and “Yojimbo” played at a local theater with a huge screen Saturday and Sunday, respectively (gee, I wonder why they showed a modern Irish animated film classic then?), and they were both enjoyable. The Kurosawa film opens up especially on the big screen, compared to how it looks and feels when you only know it on television. Beyond that, one of the HBO’s showed the entire first season of “Game of Thrones” on and off throughout the weekend, and I’m glad I caught up before the next season begins, soon. Here’s a lusciously shot, action-packed and tightly paced fantasy drama that makes the simplistic style and themes of LOTR on page and screen look like child’s play. I’d love to see HBO invest this kind of productive capital on something in sci-fi, like the essential space opera of “Dune”, but I’ll take this for now.
  - on March 21, 2012 at 1:30 am bobby J.
    
    Hopefully Bob, the BBC’s four part adaption of Phil Dick’s Hugo award winning novel ‘The Man in the High Castle’, produced by Ridley Scott will set a bar and challenge in the SF field. HBO is also doing Neil Gaiman’s ‘American Gods’. Interesting times.
- on March 19, 2012 at 9:03 pm | Reply Sam Juliano
  
  LOL Maurizio!!! Aye, I hear ya. I’m speaking comparatively of course, because of the recent Wellman festival that had me completely out of control. Well, you haven’t really missed any essential films save for the aforementioned THE KID WITH A BIKE and THE MINER’S HYMNS. I look forward to your reaction to the former!
  
  Thanks for the report on the Renoir DVD. Sound slike the copy that I have, but we’ll have to compare at some point. Yep, it would be fantastic if Criterion would pick this up.
  
  Can’t really argue with your ratings there, though I would go lower on MR. KLEIN, and would elevate the Kieslowski to five. But that’s no biggie, as these are your ratings. CLASS would get a bit less, and the Truffaut could get a half star more. CARREFOUR is one that I initially was lukewarm to, but now I see it as exceptional. Anyway, that as always my very good friend. We”ll talk soon.
- on March 19, 2012 at 9:06 pm | Reply Sam Juliano
  
  Bob—
  
  YOJIMBO is an action classic par excellence from Kurosawa. SECRET OF THE KELLS was actually review at the site here from Marc Bauer when it released. So far I must say I completely agree with you on GAME OF THRONES. I need to watch more ASAP. Thanks as always.
on March 19, 2012 at 5:14 am | Reply Pierre de Plume

Sam, now that you’ve weighed in on John Carter, I’m even more resolved to see it. From what I’ve heard, and you’re no exception, it’s no masterpiece but worth seeing.

My own activities included a screening of Once Upon a Time in Anatolia, with my strongly positive reactions posted elsewhere on this site, as well as a live-recorded performance of the Met’s seldom-seen Ernani, which I enjoyed. It was nice to have the advantage of seeing the performers in medium shots — not possible at a live performance — but I did miss the overall picture of seeing it live.

Also, I caught a screening of Ingmar Bergman’s The Magician, which I’d never seen. Thoroughly enjoyed it — and I’m still amazed that its star, Max von Sydow, never received an Oscar nomination until the 1980s (Pelle the Conqueror).

This week I’m hoping to catch the documentary on Harry Belafonte, the afore-mentioned John Carter, and then there’s Hunger Games just down the pike.
- on March 19, 2012 at 9:25 pm | Reply Sam Juliano
  
  Pierre—
  
  CARTER has it’s issues, but it’s still a film that is both thought-provoking and a lot of fun. I think you’ll be entertained at bare minimum.
  
  Yep, I stated before that I completely agree with you on ANATOLIA (as does the site’s Maurizio Roca, who is a huge fan of the film) and Verdi’s early play ERNANI may not approach his masterpieces (RIGOLETTO, LA TRAVIATA, OTELLO, IL TRAVATORE, AIDA) but it’s fine second-tier with some lovely arias. Great that you got to see that HD simulcast of the live Met performance!
  
  Yes, Bergman’s actors were always denied by Oscar, though the woman of course fared better. THE MAGICIAN is a very great film that boasts some extraordinary expressionistic cinematography.
  
  I hope to compare notes with you on HUNGER GAMES very soon, as the family have tickets to see it on Friday afternoon. And I’m sure the Belafonte doc will rock for you.
  
  Have a great week my excellent friend! Many thanks.
on March 19, 2012 at 7:05 am | Reply Jeffrey Goodman

Sam, thanks so much for the great mention.

Of course, I loved hearing of your positive experience with the latest Dardenne. I have definitely joined the crowd when it comes to the two brothers and easily consider them in my top five of contemporary filmmakers. I can’t wait to see this one.

This week, I took in a couple of films – BODY AND SOUL and DAY OF THE OUTLAW. I was extremely happy to see them both but particularly warmed to the De Toth work. It’s one of the most memorable tone poems of the genre, and I found it to be unusually impressive in its visuals and uncompromising nature. Of the De Toth films I have seen, this one really stands out for me.

Here’s to another great week. Thanks so much, Sam, for all that you do.
- on March 19, 2012 at 9:39 pm | Reply Sam Juliano
  
  Jeffrey—
  
  I must say I completely agree with that statement about the Dardennes rating among the top five contemporary filmmakers. This latest film makes a strong claim as their best yet, though it’s close with ROSETTA and LA PROMESSE for me. But as others have said they really haven’t made a sub-par film. I guess I feel that LORNA’S SILENCE is their weakest film, but even so it’s better than many others’ strongest work. As a filmmaker yourself, with a particular appreciation of realism, a high mark for the brothers here is telling.
  
  I would have to agree with you on your choice there. Sure I like BODY AND SOUL too (John Garfield is superb) but the de Toth western DAY OF THE OUTLAW is one that seems to be (rightly) gaining in critical circles after a rocky start. As I recall the bleak winter is impressively transcribed on the screen with exceptional black and white photography by Russell Harlan. Robert ryan is ever-reliable and the Phillip Yordan script was most impressive. The location shoot in Oregon made for a splendid visual design.
  
  Thanks as always Jeffrey for your exceeding friendship, support and invaluable taste and insights. I could never thank you enough.
- on March 20, 2012 at 1:49 am | Reply Peter Lenihan
  
  It’s impossible for me to view Body and Soul outside of the context of The Hustler–both are obviously dealing with the same themes and ideas, and I think the former was pretty much a warm-up for the latter. It’s Rossen trying all these ideas and methods out before really making a go at it. Day of the Outlaw is great, though; and a real predecessor to The Great Silence & McCabe and Mrs. Miller.
on March 19, 2012 at 8:57 am | Reply Judy

Hi Sam, thanks very much for the kind plug for my blog. Glad you had a slightly more relaxed week, even if four cinema visits would be a lot for most of us, and I hope this coming week is good for you and all at Wonders. My husband has been asking about ‘John Carter’, so I’ll pass on your views and we we will probably go and see it soon. It was my son Max’s 18th birthday last week so we have been busy celebrating that. Yesterday it was also Mother’s Day in the UK – my kids treated me to a couple of Frank Sinatra CDs and one by my lifelong favourite, Bob Dylan (today is the 50th anniversary of the release of his first album!), so I have plenty of great music to listen to.

On the film front, Paul and I saw ‘The Best Exotic Marigold Hotel’ at the cinema yesterday – we both thought it was reasonably enjoyable but nothing all that special, and the plot was highly predictable. Worth seeing for the great cast, including Judi Dench, Maggie Smith, Bill Nighy etc, though – and the cinema was full, which was nice to see.

At home I’ve seen ‘Earth’ (1930) and ‘M’, ‘Five Star Final’ (spurred on by Allan’s review) and ‘The Sin of Madelon Claudet’ from 1931, as well as Lang’s ‘The Big Heat’ (1953) and Wellman’s ‘Westward the Women’ (1951). I thought they were all good/great in different ways except for ‘Madelon Claudet’, which was a disappointment, as it is so patchy and at times sentimental, but Helen Hayes is wonderful in it, even so.
- on March 19, 2012 at 10:56 pm | Reply Sam Juliano
  
  Judy–
  
  You had the best week of all with Max’s 18th birthday (Happy Birthday Max!) and the UK Mother’s Day. Frank Sinatra CDs make a marvelous gift, as does Dylan of course. And today is the 50th anniversary of teh release of his first album? Wow, another fact that elused me. Those are two artists I can listen to anytime, anywhere of course. Paul may like JOHN CARTER, so hope you get a chance to see it while it’s still in theatres. I know Disney is taking a bath on the film. As far as THE BEST EXOTIC MARIGOLD HOTEL, we have seen that trailer repeatedly here in theatres, and I’ll agree the cast makes it worth a visit. Glad to hear it is at least passable and that it attracted movie-goers by you. You saw a remarkable lot there (M and EARTH and probably THE BIG HEAT are masterpieces for me) and WESTWARD THE WOMEN, and FIVE STAR FINAL are solid and most enjoyable. I completely agree with you on the theatrical MADELON CLAUDET, though like you it is still atreat to watch Helen Hayes.
  
  Have a great week my friend. And congrats to you on that Frank Thompson comment at MOVIE CLASSICS, which you so richly deserved!
on March 19, 2012 at 11:00 am | Reply dennis

Not much to report this week. Busy at work and hardly enough time for what I want to do. Looking forward to the big screen presentation of CASABLANCA (one night only and in select theatres across the country) this coming Wednesday with Sam and Sammy Jr. (this kid is really showing a big brain for classic cinema and watching his reactions to some of these films is a, most times, a bigger thrill than seeing the films themselves.

Roderick Heath penned a superlative review for SUPERMAN over at FerdyonFilms.com and I must say that the essay sparked a little ignition under my ass. Long time one of my persoanl favorite American films, the essay inspired me to give the Blu-Ray a whirl and the film took me again like it did back in 1978.

Here’s what I said about it on the comments thread in reply to Roderick’s glorious post:

SUPERMAN (1978)
D: Richard Donner
Starring: Marlon Brando, Gene Hackman and Christopher Reeve

“One of my ten favorite American movies of all time and a film I come back to, annually, to rekindle the magic that movies wove for me when I was a kid. While I disagree, vehemently, that SUPERMAN 2 is a tighter and more urgent film, I didn’t allow this opinion to sway me from enjoying this very well-written and observant essay.

As for the film itself?

I happen to see it as far more than just a well crafted flight into comic book fantasy. The marvelous pacing and enveloping influence that the first half of Tom Mankiewicz’s script have on the rest of the film point this more into the realms of biography than anything else. Donner is noted in saying that “in order to sell fantasy you have to dress it all in a kind of reality” and to do that we need to feel that everything prior to the Man of Steel revealing himself in full regailia and taking flight is authentic. Part of the brilliance of SUPERMAN is that the director and the head screenwriter (I stress that this is Mankiewicz above all others) chose not to start the film off as the other writers, credited, suggested; having it begin with “Supes” already established as our planets savior and thwarting crime, but go back to the very beginning to feel the pull of influence our hero’s lineage and learning bring him. Without the biographical background, the film would have been just another “action/adventure” flick that tired it’s audience out before the first half resolves. Mankiewicz wisely deepens the stakes of Superman’s predicament in the final act by endearing him to us through his history.

Roderick has also touched upon many things, outside of Mankiewicz’s brilliant script, that seem to be taken for granted today as we re-see this film. For those of us really scrutinizing this film, the casting of Marlon Brando must seem more and more like a revelation with each viewing since the first. The gravitas that Brando commands in this film cannot be under-estimated. His performance, though brief, influences the morality of the entire film and, if we think of the Superman tale as a parable for the tale of Christ, then no less a commanding presence than Brando would have been suitable for playing God or, in this case, Jor-El. The soliloquy that Brando performs before his infant son just prior to being launched into the terrible vastness of space is both sublimely beautiful and powerfully firm in it’s assuredness. It’s a moment in the film that assures all that are watching that greater forces in this universe are always helping us through life and assisting us in our choices between right and wrong or good and evil. For what amounts to about 25 minutes of screen time for Brando, and a paycheck of, a then whopping, 3 million dollars, no better or more brilliant actor could have been chosen. The lesson given to young Kal-El, by Jor-El, in the Fortress of Solitude is so beautiful performed by the famed thespian as to reduce even the hardest heart, and most fathers and sons, to tears.

But, as good as all of this is, the center belongs to one element, one entity, totally and entirely. The casting of Christopher Reeve, in all of his 6 feet 5 inches of muscular perfection and hauting resemblence to the sketched character of the comics, is integral. Yes, he fits the suit. Yes, the curl over his forehead clinches the physical connection we associate with the books. However, it’s Reeves humanity, a simple “good evening Miss Lane” when he lites onto Lois’s terrace, that allows US a real human connection with a prince born of Gods. His gentleness in those, and earlier, scenes connect us to this deity and allow us to believe in his overseeing superiority. It’s his humanity that allows us to see Superman as a figure curious about US and eager to learn about what it is that makes him want to be like we are and live where we live in harmony. In this simplicity, this familiarity, Reeve is then able to exude a strength that bests 1000 men put together and speed and agility far greater than the swiftest bird or jungle cat. It’s the humanity that houses a soul so innocent that it resembles a child trying to understand his surroundings and defend them so he never feels uncomfortable or out of place again. More than anything, Reeve’s portrayal pontificates a passionate love for humanity and the people that embody it. Because of this, the performance is a breath-taker and the nervous system to the film.

On a lesser note, I would be remiss to end any conversation on this movie without mentioning Geoffrey Unsworth’s under-appreciated cinematograpy (that changes with every one of the three “segments” of the film), the lightning fast editing that also knows when to hold still in an emotional moment and, of course, John Williams. Williams music, the finest score he ever composed, is another character to the film. It punctuates, with crashing cymbals, the very essence of Superman, be it heroic, romantic or depressed and, in the case of the opening title fanfare, actually speaks the title, SU-PER-MAN, in its orchestration. Its a score that runs exciting, contemplative and down right operatic all at the same time. His strains during the moment that sees the burial of Johnathan Kent evoke the kind of work that made Max Steiner and his score for GONE WITH THE WIND famous, but can change in a heart beat to the Wagner and Bartok inspired slams that back up the creation of the Fortress of Solitude. I know, for myself, that I still marvel over Williams suggestion of executioners drums as Jor-El condemns General Zod and his lackies to imprisonment in the death like “Phantom Zone”.

But, I’m rambling and stealing Roderick’s thunder. It’s just that I always feel alone when I admit my love for this film that has been so positive for me in my life ever since I saw it at 12 years old, all that long time ago.

I’m glad to know that there are others out there, like me, that think this movie is an out and out masterpiece.

This movie means so much to me.”
- on March 20, 2012 at 2:36 am | Reply Sam Juliano
  
  Indeed Dennis, I also am looking forward to Wednesday evening’s big-screen showing of CASABLANCA. They did the same thing months back with WEST SIDE STORY, and I’m sure the print will be glorious. And it will be fun to see if and how it works for Sammy. The comment you placed under Roderick Heath’s SUPERMAN review is an immediate classic, a fact that Heath himself admitted in his own response to you. I know you simply take no prisoners when it comes to this film. As you know I was a huge fan of the television series as a kid, watching the same 104 episodes repeatedly over the years in television re-runs. Thanks for the great comment my friend!
on March 19, 2012 at 11:14 am | Reply Ed Howard

Thanks for the link as always, Sam.

Glad to hear you’re enjoying Game of Thrones, it’s a great show. The books on which it’s based are even better, I’d say, they’re an addictive read. The show has followed them pretty closely so far (the first season mostly adapted the first book) but the books are much richer in character detail and the world-building sprawl that George R.R. Martin is so good at.

I had a good movie-watching weekend, catching Magnificent Obsession, The Young Girls of Rochefort, von Sternberg’s debut The Salvation Hunters, The Wild Child, and The Castaways of Turtle Island, by the always underrated Jacques Rozier.
- on March 19, 2012 at 10:47 pm | Reply Sam Juliano
  
  Ed: I just started GAME OF THRONES on Saturday, and am eager to continue this week. I have no doubt that the books you are presently reading are even better, (and addictive no doubt) and while I know I won’t be able to take those in presently, I at least want to get the first season watched. The visual design was ravishing, that opening scene in the woods was a knockout, and Peter Dinklege is marvelous. I know (according to Allan and now you) that this is one series that requires full immersion. I do wish I could read the books. Well, we’ll see how things proceed.
  I look forward to possible reviews from you at ONLY THE CINEMA of some of that terrific lot, especially MAGNIFICENT OBSESSION, the Demy and the neglected Truffaut. I haven’t seen Rozier’s film and am intrigued! And I definitely want to hear more about Von Sternberg’s debut, a film I haven’t seen to this point.
  
  Thanks as always Ed! Have a great week.
on March 19, 2012 at 11:46 am | Reply John Greco

Sam,
Thanks again for the kind words. Over the weekend we saw Bob Newhart who is still doing stand-up, believe it or not, and can still deliver a funny show with his well known deadpan delivery. Also, just finished reading a book called, “American Rose” The Life and Times of Gypsy Rose Lee.” The book is more than a biography of the stripper but an overall view of vaudeville, burlesque, the Minksy Brothers and their times. If you have ever seen the musical or the movie, “Gypsy,” let me just say the show’s version of Mama Rose was sweet and loving in comparison the murderous bitch she was really like.
Hope everyone has a great week!

The Dark Corner (***1/2) Down and out P.I. attempts to start a new life in New York after a two year bum rap perpetrated up by his ex-partner. He has a new redheaded secretary, Lucille Ball, who is as loyal, and cute, as they come, and a thug in William Bendix who is out to kill our hero. Decent enough film noir. Bendix is a standout. Clifton Webb does his Waldo Lydecker routine as an art dealer who sets up the entire scam driving the story. Surprisingly, I found Lucille Ball rather bland, it was like she forgot to take her “vitameatagamin” pills before coming to work.

Act of Violence (****) Part of an unofficial trilogy from Fred Zinnemann depicting the effects of Post World War II. Nicely done film noir. I’ll have a review coming in the near future.

Amador (***) Spanish film directed by Fernando Leon De is a disappointment. The main character, Marcela, portrayed by Magaly Solier, is too passive and the direction lacks pacing. Marcela takes a job as a caretaker for an elderly man (Amador) whose family is away. They form a relationship but soon after the man dies in bed. Marcela, who is in desperate need of money, tells no one and continues to come to Amador’s apartment each and every day “still taking care of him.” The film ends when Amador’s daughter and husband return to find her father dead. What happens I won’t say but it is surprising. There is a nice bit of dark humor especially in a scene where Marcela visits a church and discusses her recent “loss” with a priest.

Racket Busters (**) Misfired racketeer film with Bogart and George Brent. Kind of story you have seen many times before and with a better script.

The Cincinnati Kid (***1/2) McQueen is cool but Edward G. Robinson and Joan Blondell steal the show. Review currently up at 24frames.

Arizona (***) Jean Arthur is one tough lady filled with piss and swagger in this western about the settling of the town of Tucson. Young William Holden is her love interest but it is Warren Williams as a nasty villain who lights up the screen. Some nice action scenes. Decent.
- on March 20, 2012 at 3:00 am | Reply Sam Juliano
  
  John—
  
  You (and Dorothy) had a fabulous week there John, enjoying Bob Newhart, seeing a batch of films, and reading that Gypsy Rose Lee book. Yes, we are always given the “rosy” side (excuse the pun!) and I am hardly surprised at what you reveal here. Another film on the subject to check out of course would be LADY OF BURLESQUE, starring Barabara Stanwyck, and directed by William Wellman.
  
  I haven’t seen AMADOR nor RACKET BUSTERS but won’t be rushing to rectify that after reading your blunt assessments. Ha! I love Zinemann’s ACT OF VIOLENCE and look forward to your review. As far as THE DARK CORNER I quite agree that Bendix is the standout. Webb is indeed good as what he does too as you note! And that “vitameatagamin” episode of “I Love Lucy” (my wife’s favorite television show of all-time) is a classic to which all sitcom installments must be measured against! Ha! But yes, Ball is flat in the film here.
  
  Your CINCINNATI KID review at TWENTY FOUR FRAMES id dead-on and I’m precisely where you are with ARIZONA.
  
  All your capsules here are wonderfully engaging as always. Have a great week my friend!
on March 19, 2012 at 12:43 pm | Reply Laurie Buchanan

Sam – I love your comment, “…the death knell for Winter.” Here in Crystal Lake, Illinois we’ve been experiencing temperatures up to 30-degrees above normal for this time of year. It’s been extraordinary! St. Patrick’s day marked the 32nd wedding anniversary for Len and I — Whoohoo!

You are the person who introduced Len and I to the BICYCLE THIEVES, so you can well imagine that we’re quite taken with the compelling word picture you’ve painted of THE KID WITH A BIKE.

As always, thank you for the shout out!
- on March 19, 2012 at 8:43 pm | Reply Sam Juliano
  
  Ha Laurie! I do hope that death knell isn’t any kind of an illusion, as I believe we all need a break after what we had to deal with last year!
  
  HAPPY ANNIVERSARY TO YOU AND LEN!!!!!!! You two are the ultiomate couple and you’ll be back here celebrating your 64th, but not after many long years of good health and bliss! My deepest regards to you both. I am thinking there is some Irish there to make the St. Patrick’s Day parallel authentic!
  
  I am flattered to be mentioned as a catalyst in helping to spread the word with that towering neorealist Italian classic, and yes the connection to this new film is evident in a number of ways.
on March 19, 2012 at 12:46 pm | Reply Shubhajit Lahiri

Thanks a lot Sam for the mention. Its great to know that you’re at last getting to enjoy some mild & pleasant weather at your end. Also, it was strange seeing that you watched only 4 movies this whole weekend – a really light week for you indeed! 🙂

I’m off to college early morning tomorrow for 3 days in order to attend the convocation of the 2-year postgraduate programme I attended there. It’ll be really great to visit the place once more and meet all my batchmates & friends for one last time before we formally disperse for good, and yes professors too. I don’t know when I’ll next get to visit the institute again. I might not get to meet a number of my batchmates ever again. So I’m sure this is going to be a special 3 days for everyone.

Anyway, I managed to watch the following films in the meantime (most of which, of course, you’re already aware of as you visited my blog and left a number of terrific comments for quite a few movie reviews there) – Rohmer’s Pauline at the Beach, The Iron Lady, Rohmer’s Chloe in the Afternoon, Ray’s Berlin Award winning Ashani Sanket (Distant Thunder), Woody Allen’s terrific homage to Bergman Interiors, the Czech surrealist film Diamonds of the Night, a new Bengali film called Bhuter Bhabishyat (Futures of the Past), and yet another Rohmer film A Summer’s Tale which I watched earlier today.
- on March 20, 2012 at 3:24 am | Reply Sam Juliano
  
  Shubhajit—
  Thanks for the kind words. Yes, only four movies in theatres, but also some home watching as I noted. Yes there is certainly a bittersweet aspect to the upcoming three day visit. The truth is that there are some you will admittedly not see again, and that’s what brings in some sadness. Pretty much the same thing happened with Lucille four years ago when she completed her Master’s in Education. She had made some good friends over a few years, and now only one stays in touch. Everyone has their lives to lead, but the memories make it tough to part. But I am hardly telling you anything you don’t know. Have a wonderful time though.
  
  Yes I did see some of those reviews at CINEMASCOPE and placed some comments there last night. You saw quite a batch there. Great to see you are covering so much Rohmer too. I much enjoyed reading the takedown of THE IRON LADY. As always your capsule writing is truly exceptional.
  
  Thanks again my friend! Have a great week.
on March 19, 2012 at 1:10 pm | Reply Frank Gallo

The Kid with a Bike is on my radar Sam. Hope it arrives locally. That Zulawski sounds like quite a trip. Too bad the creator couldn’t make it over for that planned talk. Yes the weather has been glorious. I think we dodged a bullet.

Great to hear you are taking Danny to some art-related films. Hope he enjoyed it.
- on March 20, 2012 at 3:04 am | Reply Sam Juliano
  
  Frank—
  
  Be rest assured that THE KID WITH A BIKE will appear in Montclair in a few weeks. I was disppointed that Zulawski cancelled, as I understand he is quite a speaker. But seeing the perverse but nonetheless captivating THE DEVIL was a rare opportunity.
  
  We did dodge a bullet with the weather this year, but all things considered I think we deserved it. Danny liked GERHARD RICHTER PAINTING. I was very happy about that.
  
  Thanks as always my great friend. Have a nice week!
on March 19, 2012 at 1:46 pm | Reply Jaime Grijalba

Hello Sam and everyone.
Thanks Sam for the link, as always, that one specifically is one of my favorite entries in a long time, something that wasn’t planned and wrote on an inspiration, so it holds some power to me.
You had a nice week Sam, relaxing, yet still active, as usual. I agree on both of the ratings you give to the films I’ve seen, John Carter and The Kid with a Bike, as you know, I picked Doret’s performance as the best male lead performance of movies last year, it is quite good.
Well, my week had a bit of a work. Beside the usual classes, that I’ve already told you about, I had to film a scene for the Fiction Workshop, I shot on Friday and edited on Sunday, it is a scene from Juno, which I’ve changed to my own will and to present my own version of it, the result is this, it will be shown tomorrow on class:

My week movie wise:
– Alucarda, the Daughter of Darkness (1978, Juan López Moctezuma) ***1/2 Quite decent and even impressive at times horror film about possession, evil, vampires and lesbians. It has an interesting plot, and while not entirely outrageous nor satisfying, specially because of the performances, it’s a movie that looks great and has magnificently baroque sets. Something gorgeous to look at, but sometimes cringeworthy to hear.
– Ben 10: Destroy All Aliens (2012, Victor Crook) *** I’ve already reviewed this here.
– Jeanne d’Arc (1900, Georges Méliès) *** Not as visually impressive as his other works, this biography of St. Joan D’Arc is not as good as other versions of it. Mainly because it falls way too much on the filmed theater, and there’s little spectacle, a trademark for Méliès, except at the start and at the end.
– John Carter (2012, Andrew Stanton) ***1/2 A good movie that is better when you are not looking at the action scenes that are way too generic to be of any interest (except the one that was edited with a flashback, which was quite great) now I’m curious to read the original pulp stories of Edgar rice Burroughs, they sound so interesting and my kind of thing. The special effects are fine and the whole score is good.
– The Moon at One Meter (1898, Georges Méliès) **** Impressive special effects spectacle, with a giant moon that eats everything, and the ilussion of seeing thing through a telescope as having them near you. The thing works both as a comedy and as a science fiction film. Splendid work here.
– Primer (2004, Shane Carruth) ****1/2 Extremely complicated and entirely interesting sci fi film about the discovery of time travel, its simple use for our characters, its complications and overall confusion it brings to life due to its unknowable instructions. The film is well shot and framed, as well as directed, and the performances are really natural, a marvel to see so many real people in a film. Great things in this one.
– Pulgasari (1985, Chong Gon Jo, Sang-ok Shin) *** The film some say that isn’t interesting when its compared to the story about how north korea kidnapped the director of this movie to make it. But still, it is quite an interesting film to watch, except for those parts that are really slow and just boring to watch. The ending is significant in an interesting and propagandistic way: sacrifice for others.
Have a good week Sam!
- on March 22, 2012 at 2:51 am | Reply Sam Juliano
  
  Jaimie—
  
  I just watched your film twice and love it! Yes, I was unable to figure what was being said, even though I work in a school system where approximately 80% of the students are Hispanic and speak Spanish. I should have learned this years ago. Yet I do understand some words, and tried to make out the dialogue here. Love the way you molded a scene from JUNO to your own design! Nice work there! The girl was very good too! I hop and anticipate all went well in class with that short! I hope you decide to extend it.
  
  I am very impressed at the way you are plowing through the Melias catalogue, no doubt inspired by Scorsese’s HUGO, a film I know you loved. I have not myself seen all of Melias, and among those would be THE MOON and JEANNE D’ARC. Based on your assessment shere THE MOON would be essential. I can certainly understand why Melias’ JOAN would be only a suggestion compared to what others would be able to do years later with the technological advances. I liked PRIMER, maybe not quite a smuch as you, but fair enough. You beautifully assert it’s attributes. Yes, you covered BEN here most superbly indeed. I have not seen ALUCARDA and PULGASARI, but am intrigued with the decent ratings and unique aspects, especially the latter.
  
  As far as JOHN CARTER I concur with your estimation and remain perplexed at the hate that is aimed at the film, some because of the studio behind it and others because Stanton directed. It’s a fun film with a great story source, and eclipses some other films by the more celebrated directors. Anyway, to each his own.
  
  I agree with you too that Doret was extraordinary in THE KID WITH A BIKE, and do remember you rated it quite highly.
  
  Thanks for this awesome submission and please let me know how things went in class with that wonderful short my very good friend!
on March 19, 2012 at 1:46 pm | Reply Jon

Hi Sam,

Thanks for the super mention my friend. We have had 80 degrees for the last few days and it’s totally spoiling us! It will be back in the 40’s by next weekend apparently. Things are blooming already around here and I was out in the garden. I also was with the girls by myself as Anne Marie went away for the weekend with friends, so I was quite busy keeping up with everything, March Madness included. It was very nice though to be outside in the sunshine and we all got worn out from playing hard. Yes Allergies!!! Mine are already kicking in a month early and I’m not so happy about that!! Haha!

Well like I mentioned last week, I didn’t have too many films I could get to this week. My favorite that I watched was Secret Sunshine though, which was a rather tremendous film all around. I was a bit shaken by some of the plot elements and it caught me off guard sometimes, but a tremendous central performance and good camerawork held it all together. I don’t quite give it my highest rating, but it’s close.

This week I’m revisiting Rififi, and Lola Montes, and will watch A Woman Under the Influence for the first time. Not sure how I’ve missed that one until now.

Well we’re still going to have tremendous weather for the next few days and we’ll be enjoying every minute of it, as long as I get started on my Claritin. Haha! Have a great week my friend!!
- on March 20, 2012 at 4:14 am | Reply Sam Juliano
  
  Jon—
  
  Wow, 80 degrees in Michigan! I though the low 70’s over here were unseasonable! God, sorry to hear about the allergies already kicking in. I am hearing doomsday reports from people as to how severe they will be. That will not be pleasant. Still nice that you got some quality outdoor time with the girls. And I am hardly surprised that you’ll be back down in the 40’s before the end of the week! Ha! That is the way it’s been going the past few weeks, even though your purported drop will be drastic by all counts. Lee Chang-Dong’s SECRET SUNSHINE is indeed an excellent film, though not quite as great as POETRY in my opinion. But I can see others feeling otherwise. Both are exceptional. I am assuming you have the Criterion blu-ray. Enjoy the reviewings of LOLA MONTES and RIFIFI, both supreme classics, and I’d be most interested in hearing your reaction to that Casevettes. And hope you won’t have to hit the Claritin too hard. Ugh. Have a great week my very good friend! Thanks for the super-wrap as always!
on March 19, 2012 at 1:52 pm | Reply Ricky

Hey Sam, I saw a terrific comedy, 21 Jump Street. I strongly recommend it.
- on March 20, 2012 at 3:09 am | Reply Sam Juliano
  
  Ricky—
  
  With all due respect (and you know I appreciate when you stop by) I must say I saw the film this evening (got home an hour or so ago) and found it juvenile. All the ‘dick’ jokes were just too much. I understand many like it (and my sons Sammy and Danny were laughing throughout) but definitely not my cup of tea. I was shaking my head in disbelief. But we’ll talk in person. Ha! Thanks again my friend.
on March 19, 2012 at 3:26 pm | Reply David Noack

I’m hearing great advance reports on “The Hunger Games”. If it plays nearby I will attend a screening on Friday night.

The weather has been great as you note. I spent a good part of the weekend walking and shooting some hoops.
- on March 20, 2012 at 3:11 am | Reply Sam Juliano
  
  David—
  
  So am I. Our entire family will be seeing the film at 4:30 on Friday afternoon with our buddy Broadway Bob at a local theatre. I’d say it’s an event movie for 2012. The reviews are looking real good too.
  
  I wish I could join you to shoot hoops but my effectiveness on that front is pretty much spent. I can walk though, yes! Ha!
  
  Thanks as always my very good friend.
on March 19, 2012 at 3:45 pm | Reply Pat

Sam –
A relatively quiet week for you!! Of course, your ‘quiet’ week looks would be a ridiculoously productive one for me!
KID WITH A BIKE sounds interesting; the Dardennes have been on my radar for a while, but I’ve yet to get to their work. Perhaps this could be my starting point? I have a vague recollection that this one was available OnDemand (although that could just be wishful thinking on my part). I’m anxious to check it out.
It’s been a stressful week here, for reasons that don’t bear mentioning, and I’ve exacerbated things by staying up too late almost every night, tearing through the HUNGER GAMES books. (I’m now about half-way through the final volume MOCKINGJAY.) If the Salon comments threads are any indication, the HG backlash is in full swing now, but I find these books extraordinarily compelling. Original? Probably not. The author herself admits influences from Greek mythology, and of course the concept of characters fighting to the death for entertainment has been done many time and not just in the Roman Colliseum. But the characters here are well drawn and the author is near brilliant and creating and maintaing a steady, almost unbearable sense of suspense and dread throughout. I would only complain a bit that the final books is a little convoluted and overstuffed, but it’s a relatively minor quibble.
On the cinema side, all I managed was Almodovar’s BROKEN EMBRACES, which was wonderful.
Have a good week all!
- on March 20, 2012 at 3:34 am | Reply Sam Juliano
  
  Ha Pat! That’s basically what a few others here are contending as well. I think the Wellman Festival set a bar that makes for all subsequent viewing seem tame in comparison. But to be honest, as much as I love movies in theatres, I wouldn’t find to face that frenzied insanity again for all sorts of reasons. Once I saw WINGS on that opening weekend, I was drawn in without compromise. Well, I must say that even though you have been burning the candle on both ends you have done so with a purpose. I have heard so much about the HUNGER GAMES books (as of late it’s been those and THE GAME OF THRONES) that I can only be gleeful in anticipation of Friday’s viewing of the initial film. I’m assuming you also have a viewing lined up for the weekend as well. I do hope that sense of suspense and dread that you attest for the books is maintained in the film. I also like BROKEN EMBRACES, as I do just about every Almodovar.
  
  Anyway, try and relax a bit my friend, and have a great week! Will be looking to compare notes with you on HUNGER GAMES.
on March 19, 2012 at 5:46 pm | Reply Sachin

Hi Sam, thanks for the kind mention. For us, the weather is indeed giving some glimpse of positive change but there are still a few more light snowy days in store. Overall, not too bad though. I can see the sun at the end of this chilly tunnel.

The Kid with a Bike is indeed impressive & was one of my fav. from last year. Lots of potential to find some new worthy films at Tribeca with mostly 2012 titles that probably have not screened elsewhere. I have only heard about 2-3 titles so the line-up intrigues me.
- on March 20, 2012 at 3:42 am | Reply Sam Juliano
  
  Sachin—
  
  I fully understand that at this time of the year in your neck of the woods (western Canada) snow can never be ruled out of the equation no matter how promising the immediate forecast might suggest. Nice to know though, that you are seeing signs of spring. Happy to know you also love THE KID WITH A BIKE, though I can’t fathom others not falling for it. It makes strong claim as the bothers’ masterpiece, though their career is marked by remarkable consistency. True about Tribeca too. I am looking forward to some finds there! Have a great week my friend. Many thanks as always!
on March 19, 2012 at 6:25 pm | Reply Samuel Wilson

Sam, I’ve added Kid with a Bike to my Albany wish list. I think the Dardennes are enough of a brand name for it to get here. Still uncertain about John Carter with so many people trying to throw each other under the bus over it. I do have more tolerance for heroic fantasy than many moviegoers so I do hope to like it.

On TV I quite liked 20,000 Years in Sing Sing but quite disliked John Ford’s Wallace Beery wrestling movie Flesh, for which the great man traded his usual Celtisms for Germanisms that make his Irish films look like documentaries. Also watched Wesley Ruggles Cimarron, which has little going for it beyond some stupendous set design. It sometimes looks like the Heaven’s Gate of 1931, but the sprawling story with its repeatedly-disappearing protagonist is hopeless — the novel defeated Anthony Mann, too, as I recall. For St. Paddy’s I watched Lloyd Bacon’s The Irish In Us, a Cagney-O’Brien comedy almost literally on a Three Stooges level. This is the one where Allen Jenkins goes berserk whenever he hears a bell ring and Cagney has to replace him in the ring. Such was comedy at Warners in the Code Enforcement era. Bacon also directed Racket Busters, with George Brent as a tough truck driver. You heard me. Actually, he nearly pulls it off, and the picture has some nice production values, but it’s too simplistic to stand comparison with Warners’ Pre-Code crime pictures or their more ambitious later Cagney vehicles. I did wander off the rez a little to watch Larisa Shepitko’s Wings, which comes off as a belated Soviet answer to The Best Years of Our Lives with the advantage of focusing on one alienated female veteran. It’s an interesting slice of Soviet life that I can’t imagine the authorities liking much — but maybe I’m not giving them enough credit.
- on March 20, 2012 at 4:04 am | Reply Sam Juliano
  
  Samuel—
  
  Yep, your proven tolerance for heroic fantasy (something I have known) will probably be a vital factor in what could well be a modestly favorable reaction to JOHN CARTER. It’s a flawed film, but it’s joys outweigh it’s debits, and it’s a lot of fun. Well I’ll stop with the politicking, and yield to your eventual honest response. Ha! As far as the Dardennes and THE BOY WITH A BIKE, well, I’d wager money you’ll be on board there. I’m as certain as I was about A SEPARATION.
  
  My reaction to that CIMARRON (which I saw on the big screen during the Anthony Mann Festival) was stronger than yours. Yes there were obvious problems with the length and some of the dialogue and performances, but physically it was just right, and the color cinematography by Robert Surtees was ravishing. Then there’s the beautiful score from Franz Waxman, which has been superlatively restored on a must-own Film Score Monthly CD with a terrific 25 page liner-note booklet analyzing every track. The main theme is recognizable and effectively used throughout, but Waxman seems to know the music that Ferber’s prose projects. Ferber of course wrote SHOW BOAT as well. I understand there are problems here, but the film remains exceeddingly entertaining and lovingly mounted.
  
  As I mention to John Greco, who coincidentally enough also saw RACKET BUSTERS this week, it’s one I haven’t seen. Both both of you seem to be in agreement. Shepitko’s WINGS is decent enough, but I’m inclined to agree with your assessment. Her masterpiece is THE ASCENT. Agreed on the Cagney-O’Brien, and read your fascinating review on 20,000 YEARS IN SING SING.
  
  Anyway thanks as always for entering what is consistently one of the most fascinating and insightful (and cinematically prolific) entries on this weekly thread. Have a great week my friend!
on March 19, 2012 at 7:23 pm | Reply mark s.

Every once in a while admirers and loyalists of JLG must face the Godard conundrum, the inexplicably uneven quality of this prolific director’s canon, the Olympian highs and the Marianas trench-like lows. How can the director of films like ‘Breathless’ and ‘A Married Woman’ and ‘Weekend’ make something as dispirited as ‘Vivre sa vie’? I revisited this one last night and rather wish I hadn’t. The film, a club-footed look at the life of a shopgirl turned streetwalker — prostitution both in the literal and in the anti-capitalist allegorical sense is one of Godard’s favorite themes — left me tired and despondent. Godard’s fourth feature-length film is an exercise in the tragic mode and, brothers and sisters, this is one misogynistic film (gad, I dislike that word). Godard makes his prostitute, Anna Karina, pay with her life for the sins of her profession, eating lead from not one, bit two different pimps. The film’s final image has Karina sprawled ignominiously in the middle of a deserted street. At least her panties are modestly covered (Karina never appears nude in the film, though several peripheral actresses playing hookers are shown bare-assed. The splendors of Karina’s physique are left to Godard and the viewer’s imagination). The end title FIN on a black screen is like a symbolic third bullet to the solar plexus.
I’m not a huge fan of Godard’s excessive cinephilia here, either, his sops to the footlight auteurists and the film cognoscenti. Take the name of Karina’s character, Nana (please), not only a winking reference to Zola, but also to Jean Renoir’s 1926 film ‘Nana’ which also starred a different director’s spouse, Renoir’s then-wife, C Hessling. I’d rather not even mention the excerpt from Dreyer’s ‘The Passion of Joan of Arc’, during which Godard commingles Karina’s tears (of empathy or self-pity??) with those of Falconetti’s great martyr. But the coup de grace of impertinence is the casting of Anna Karina as the joyless Nana. As Godard’s wife Karina most certainly possessed private charms for the director, but those charms and felicities do not translate to the screen in ‘Vivre sa vie’. Karina is a mod blank staring into the camera to express angst, and she’s not all that sexy, even with her Louise Brooks bob. The beauty of the beloved is truly in the eye of her lover. According to Richard Brody, Godard had originally wanted to raid Hollywood and cast Joan Collins in the role of Nana. Too bad sultry Joan, with her steamer trunk full of haute attitude wasn’t available.
My advice is to skip ‘Vivre sa vie’ and take a look at the infinitely superior ‘Une Femme Mariee’ starring a real actress by the name of Macha Meril. It’s one of Godard’s best.
Sam, I hear Disney is losing its ass on ‘John Carter’, whose budget came in at a mind-numbing $250 mil.
- on March 20, 2012 at 3:49 pm | Reply mark s.
  
  Correction: Godard briefly considered Joan Collins for his previous film, ‘A Woman Is a Woman’, not for ‘Vivre sa vie’. Apparently Godard was fascinated with Collins at the time, and what an insouciant minx Joan could have been, splayed on a white fur rug. During the 1980s an airbrushed Joan posed for ‘Playboy’ and looked surprisingly fetching.
- on March 20, 2012 at 10:01 pm | Reply Sam Juliano
  
  Mark–
  
  As I have stated at this site on a number of occasions, I am no fan of Jean-Luc Godard’s cinema in general, but there are a few of his past classic films I would still rate highly–films like CONTEMPT, BREATHLESS, 2 OR THREE THINGS I KNOW and WEEKEND. I recently saw BAND OF OUTSIDERS at the Film Forum and kind of liked it. But I despised his last theatrical work, FILM SOCIALISM, and I have basically been unimpressed with all his recent films including NOTRE MUSIQUE. To be honest I actually like the experimentation of VIVA SA VIE and found the interior drama comparable to Bresson (remember Godard regards Bresson as the greatest of all fimmakers). The film is emotionally resonant, and it skillfully interweaves social document, theatricality and humanity. In fact Susan Sontag said:
  
  “VIVRE SA VIE triumphs because it is intelligent, discreet, delicate to the touch. It both edifies and gives pleasure because it is about what is most important…..the nature of our humanity.”
  
  But heck, I don’t mean to oppose your own reaction here, as I can give you numerous instances where a Godard film left me cold. His recent agenda of practical nihilism has completely alienated me. Back in the day though I won’t deny he did have something to say. And yes I also like UN FEMME MARIEE, and own a lovely Masters of Cinema Region 2 of it. Geez for a guy wqho claims he doesn’t generally like Godard I sure am making a case for him now, aren’t I??? Ha!!! I like your mention of Nana and those literary references, and I again marvel at your brilliant writing and insights. Ah, you should be writing for this site my friend! This latest comment is proof parcel.
  
  The site is divided on Godard. Allan likes some films but also notes the recent stagnation, Maurizio is no fan, but Jamie and Joel are huge fans. Ed Howard, Stephen-Russell-Gebbett and ZPeter Lenihan have done spectacular work at their sites promoting his artistry for a few years now.
  
  And I know JOHN CARTER is tanking. Disney haters are no doubt in their glory. But as I said all things considered it isn’t a bad film. You may think otherwise, and I respect that, but it definitely works as a genre piece.
  
  Thanks again my friend for the spectacular submission here, and have a great week!
  - on March 20, 2012 at 10:38 pm Maurizio Roca
    
    Sam I do like Contempt (immensely), Breathless (to a degree), Alphaville (to a slightly lesser degree), and Pierrot Le Fou (to a moderately lesser degree). As I stated to a friend many years ago (and it still holds true), I rather watch the best of someone like Georges Franju (who isn’t really part of the movement) over everything Truffaut and Godard ever did combined throughout their respective careers. I personally have little use for most of the French New Wavers and prefer those filmmakers that were either outside such categorization, a decade or so older, or only marginally associated with the movement like Melville, Bresson, Clouzot, Tati, and Becker. All that self conscious, reflexive, artificiality does little for me… still a few works like Contempt, Le Boucher, Elevator To The Gallows, and Last Year In Marienbad are favorites of mine.
    
    Oh and I am also a fan of Game Of Thrones.
  - on March 20, 2012 at 10:55 pm Ed Howard
    
    I won’t get into the Godard thing again, I promise. I will say I love Franju, and see no reason to oppose him to the New Wave as an either/or proposition – especially not in terms in reflexivity, of all things, since some of Franju’s great works like JUDEX and NUITS ROUGES are very self-reflexive and self-conscious and full of cinematic references in ways that are not at all unrelated to the New Wave, even though Franju himself wasn’t a part of the movement.
    
    Not that reflexivity is the defining characteristic of the New Wave either. Rohmer, for one, very rarely has any signs of it in his cinema, with only his very interesting literary adaptations fitting the bill in that respect.
  - on March 20, 2012 at 11:31 pm Sam Juliano
    
    Maurizio—
    
    Great to hear that you are a fan of GAME OF THRONES too!!!! I am very excited about this series and am preparing to watch more within minutes.
    
    I understand and respect your position on Godard, (and we surely share some common ground as we’ve discussed even in person) though as you know I am not on the same wave length as far as the French New Wave, a movement I mostly like quite a bit. Truffaut’s JULES AND JIM and THE 400 BLOWS for me rank among the greatest of French films, and I am smitten with Rivette, Demy, Rohmer and Chabrol and some of Godard. You make sound criticisms to back up your convictions as you always do, but seems to me the matter of sensibilities and taste come in here strongly. Of course it needs not to be said that I like all the ones ‘outside the movement’ you mention there, particularly Bresson and Melville, who are two of the greatest directors of all-time.
    
    Ed is being a real gentleman here in not entering the Godard fray, but as a result we are all that much poorer by the loss of exceptional, even extraordinary analysis and qualification. But his work at ONLY THE CINEMA on Godard speaks for itself, and he’s engaged here a number of times. If he did enter though, I am 100% certain he would express a deep affinity for VIVRE SA VIE, a position I would admittedly support. The points you make here about Franju and the predominant aspects of the French New Wave are most persuasive. Can’t say I disagree at all.
    
    But I see where Maurizio is coming from, and think I know his taste and what he deems most important in the cinema. I get that the French New Wave isn’t his thing, although Mark Smith will meet the Godard bandwagon half way.
    
    Now it’s off to GAME OF THRONES and then later tonight my response on this thread to Jaimie Grijalba.
  - on March 20, 2012 at 11:34 pm Bob Clark
    
    I’ve yet to see a Godard film I don’t like. Probably the closest I get to disliking his stuff is “King Lear”, which feels phoned in and distanced from his best touches, being done in English. But even bad Godard is still Godard.
    
    If “John Carter” is tanking, it’s not Disney’s fault as much as it is Andrew Stanton’s. Disney took a huge risk investing so much money and control in a first-time live action director, and their reticence to hold him accountable in the making and marketing of the film is really what’s undercut it. Yeah, there’ve been way too many articles that almost seemed to look forward to the failure the film was aiming to become, and perhaps there’s been too much emphasis on the poor way this was sold to an audience that doesn’t know or care a whit about the Barsoom stories. But at the end of the day, this was a mediocre, muddy mess of a film that failed to attract an audience, and there’s really not much point crying over spilled milk when it’s spoiled, to boot.
  - on March 21, 2012 at 4:43 am Peter Lenihan
    
    In all seriousness, I would love to see the movie JLG would have made with 250 million.
  - on March 21, 2012 at 5:08 am Bob Clark
    
    I’d like to think it might’ve simply been him setting fire to the $250 million, and filming it burn. Not only would it have been more entertaining than “John Carter”, but it might’ve helped cut down on inflation.
  - on March 21, 2012 at 2:08 pm wondersinthedark
    
    Godard’s kind of one of the litmus papers of serious film study. There aren’t many higher or more eclectic, perhaps Rivette or Yoshida at their zenith. Essentially from 1959-67 he could do no wrong, but Paris 1968 changed him forever. He made less great films after that, but in the way someone does when he’s trying to absorb too much at the same time. And if it means he made the vast majority of his great films in an 8 year period, remember than Von Stroheim only worked as director for 10 years, Murnau for 10, Sturges in Hollywood for 9, Powell and Pressburger burnt out their great films in 8 years, Fassbinder burnt himself out in 13 years, Yoshida essentially in 13.
    
    Numero Deux and Sauve qui peut… are essential meandering masterworks, and while I don’t think there are any other masterpieces post Weekend, some of his failures are more interesting than most director’s successes. Passion would be a perfect example of this, a film that turns a mirror on itself, its protagonist, its cast – who plays characters with the same names, as if not so much playing themselves as alternate realities of themselves – and its director all at the same time and then splinters like the hall of mirrors in Lady of Shanghai under gunfire. It’s a deeply problematic film, flawed as hell, and ridden with the cancer of obsession with Polish Solidairty – the same tumor that stopped Wajda’s Man of Iron being as good as Man of Marble. And yet it’s a film that may grow in time.
  - on March 21, 2012 at 4:03 pm mark s.
    
    In ‘Vivre sa Vie’ I don’t think I ever recovered from the opening scene, held on Karina’s back while she has that long conversation with her ex. I understand Godard’s aesthetic rationale (left profile, right profile, head-on, back of head, a contemplative study of Karina’s noggin), but it goes on so long that novelty turns into affectation (IMHO). I love Karina’s work for other directors (Rivette — ‘La Religeuse’), but she sometimes irritates me in her Godard films, and maybe it’s because of G.’s uxorious love-hate fascination with her. He cruelly works her over like a rag doll in ‘Vivre sa vie’ and she looks miserable most of the time (not the character, but the actress). About Godard’s genius there is no debate. ‘Breathless’, ‘A Married Woman’, ‘Contempt’, ‘Pierrot le fou’, ‘Two or Three Things’, ‘La Chinoise’, ‘Weekend’ are high examples of film art, but Godard lost me beginning with the Gorin collaborations (though ‘Every Man for Himself’ was a comeback of sorts).
    I’ll have to check out the Franju films Ed mentions, though I found ‘Eyes Without a Face’ a clinical horror film infected with art, containing many risible scenes not intended to be funny (or maybe the film really is intended as a sick joke).
    Sam, I haven’t seen ‘John Carter’ and certainly take no joy in Disney’s misfortunes, but with a budget like that what were they thinking? The studio has had such a string of successes that maybe they thought they were impervious to a sluggish economy and an E. Rice Burroughs hero who was not Tarzan. I think Bob is right: Godard would have filmed the burning of the film and titled it ‘Contempt II”.
    Later, my friends
- on March 24, 2012 at 10:55 pm | Reply MovieMan0283
  
  It’s funny, the detractors and the boostes of Godard (and perhaps New Wave in general) often don’t even see the same object they’re disagreeing over. To me Godard is one of the least cold filmmakers of all time and the ones that do leave me somewhat cold – Vivre sa vie, Pierrot, Contempt, even Breathless to a certain extent – are the ones that seem to get most praised as “exceptions” by those who aren’t crazy about him. Go figure.
  
  To me, the New Wave expresses the sheer joy of filmmaking; what Maurizio reads as artificiality I find contagious playfulness. I’m spotty on post-’68 Godard but I generally like what I’ve seen (I’m saving a full retro for when I have the ability to watch pretty much everything – which my computer/TV situation does not allow at present).
  
  Oh, and +1,000 on Bob’s scenario for the Godard JC…
  - on March 24, 2012 at 11:10 pm MovieMan0283
    
    Mark, what’s your take on La Chinoise? I re-watched it recently and it’s one of my favorites – maybe even third after Masculin Feminin and Band of Outsiders – but I don’t think it gets discussed enough. Perhaps because the politics seem dated but I feel that’s a bit beside the point. Much of the film is a thrilling, amusing, and intoxicating cartoon and yet it also contains some sequences that are among the most human – the least coy about cloaking the rawness life in cinematic playfulness, harsh formal rigor, or intellectual experimentation – in Godard’s cinema. I’m thinking particularly of the political conversation on the train (which, far from dating, has eternal resonance outside its particular references) and the ending, which I find irresistably melancholy.
  - on March 24, 2012 at 11:14 pm MovieMan0283
    
    And what were your thoughts on the Eyes Wide Shut screening?
  - on March 25, 2012 at 2:37 pm Sam Juliano
    
    I agree that the politics in LA CHINOISE is dated, and that’s always been a problem for me in fully appreciating it. But you explain the worth there most impressively.
  - on March 25, 2012 at 9:45 pm MovieMan0283
    
    Well best way to look at if that’s an issue is as a fascinating view into another era. After all, one man’s “dated” is another’s “time capsule.” Besides which, while hardly anyone today would look to Mao’s China for political guidance, other issues – youth disaffection, the tension between action for its own sake and well-planned strategy, and the tug between politics as lifestyle/aesthetics and as practical action – still remain relevant though.
on March 19, 2012 at 11:22 pm | Reply David H. Schleicher

Hey, Sam – glad to hear you are enjoying GAME OF THRONES. Season 2 starts on April 1st and I am stoked! Definitely one of the best shows on TV – and I normally have low tolerance for the “fantasy” stuff but this show does it right by keeping the plot grounded in great characters and gritty political stuff.

I caught a few films on Netflix:

The Skin I Live In – ***1/2 – Who’s sicker? Almodovar for making this film or me for finding it more entertaining than most of his other movies? Highly disturbing but undeniably fascinating to watch – I almost felt Almodovar was going Lynchian in some parts. Though you can’t really compare the two – this was my favorite (and I use that term very loosely as I am typically repulsed or bored by Almodovar) from Senor Pedro since “All About My Mother.” The ending was a bit abrupt.

Friends with Benefits – ***1/2 – Yet another film, like above, I’m embarrassed to say I enjoyed – though the two films couldn’t be further apart. It was quite funny, quite “frank” for a romantic comedy, and Mila Kunis makes for a great little comedienne (and is quite easy on the eyes I must say). Still, though, it was a romantic comedy and eventually succumbed to the tropes of the genre.
- on March 20, 2012 at 10:06 pm | Reply Sam Juliano
  
  David—
  
  I am actually staying home tonight to further explore the GAMES OF THRONES blu-ray set, so I’ll have more to say next weekend. But you, Ed, Allan and even Bob Clark have strongly recommended it. And our good friend at the Film Forum, Alan Hardy is a big fan as well. I like THE SKIN I LIVE IN too, though I am much more an Almodovar fan overall. But yes, their is that disturbing element, which I won’t give away here. Ha! Agreed that the ending was abrupt.
  
  Thanks for the reasonably appreciative assessment of FRIENDS WITH BENEFITS. It’s one I have gotten to yet.
  
  Thanks again my friend as always. Have a great week!
  - on March 22, 2012 at 1:43 am bobby J.
    
    “I am actually staying home tonight to further explore the GAMES OF THRONES blu-ray set”….you make it sound very demure, come on Sam – we know the truth – admit it, you’re hooked like a junkie 😉
  - on March 22, 2012 at 2:31 am Sam Juliano
    
    hahaha Bobby! Well, I did watch Episodes 2,3, and 4 last night, so I have 6 to go. Tonight I was at my local Edgewater multiplex to take in CASABLANCA with my 14 year-old son Sammy and the site’s Dennis Polifroni, a close friend. It was being presented by TCM as an anniversary presentation in a new series devoted to film classics aimed at a worldwide audience. Needless to say that very great film weaved it’s magic again for teh umteenth time. But tomorrow I plan to resume GAME.
on March 20, 2012 at 2:00 am | Reply Peter Lenihan

Hey Sam, caught a couple contemporary HK / Chinese movies, including The Great Magician–HK’s answer to the Prestige / Illusionist magician thing; it’s way funner than either picture, and stars two of the world’s greatest actors–and Let the Bullets Fly–a very popular film which is pretty much all messy Leoneisms.

The best movie I saw this week was Naomi Kawase’s Shara, a very beautiful feature from the documentary filmmaker–it takes place in her hometown and fittingly it’s hard to tell how much here is fact and how much is fiction.

I also liked the period brothel movie L’apollonide / House of Pleasures / House of Tolerance a really lot–very sad and unexpected, reminded me of the silent section of Hou’s Three Times.
- on March 20, 2012 at 4:22 am | Reply Sam Juliano
  
  Peter—
  
  I’m sorry to say I haven’t seen those first two films you are issuing some considerable praise to here, but I’ve written down THE GREAT MAGICIAN and LET THE BULLETS FLY to research. And then you attest to the excellence of Naomi Kawase’s SHARA, which does sound most interesting. However, I did not get shut out here, as I did see the provocative and seductive HOUSE OF PLEASURES, the period brothel movie by Bertrand Bonello, a film that is visually ravishing. Intriguing comparison there with that section of THREE TIMES.
  
  Anyway, sounds like you watch some exceptional and eclectic stuff there. Many thanks as always for your stupendous insights my friend. Have a great week!
on March 21, 2012 at 2:23 am | Reply bobby J.

Hi Sam – great to see you watching ‘Game of Thrones’. When I saw it earlier this year, I had intended – like the Beeb’s version of ‘Tinker, Tailor, Soldier, Spy’ – to watch one episode per night and ended up watching them over three nights. I found it to be the equal of ‘The Lord of the Rings’ films and ‘Star Wars’ too. How it pans out over the whole seven book cycle will be interesting.

The highlight of my viewing for the last two weeks has been ‘Moneyball’**** which I found to be at the very pinnacle of sports movies. And as with all great sports films, it really about life and how our characters cope with the twins of success and defeat. Brad Pitt is superb in it as are most of the cast, the personal side beautifully realised.

Downton Abbey – was the the poorest of my viewings. It’s had such a buzz with the critics and really great ratings and my brother loved it too. The best thing about it is the rousing theme of the show, evoking the pulsing drama of momentous changing times about to be unveiled. The show can and should be compared to ‘Upstairs, Downstairs’ yet, unlike it’s spiritual forebear – it’s a feel good, cosy and soft and tender all over. It lacks a hard edge. It is also extremely conservative, whereas the original ’70s show covered the light and dark side of the upper-classes, the middle and lower working classes. Hudson was a bigot, yet still likeable – a product of his times. Virtually all the cast here are caricatures, one resembling Parker – Lady Penelope’s butler from ‘Thunderbirds’ in both bearing and tonality, others are cardboard and utterly, unbelievably good and virtuous. The plots threads can be gleaned within seconds. It really is a soap masquerading as a period drama, whereas ‘Upstairs’ lineage came via classical literature and it’s story arcs had inadvertent soap-power draw, here it’s really part and parcel of the soap-opera crap our channels funnel out.

I also took in the short film ‘Goodbye, Miss Turlock’, which won or was nominated in the Oscar category. It belongs to the MGM series called Passing Parade, but it really not that exceptional. Directors who contributed to this series include Jacques Tourneur, Fred Zinnemann and George Sidney, though I doubt they had the creative freedom to really do something of real value. On the other hand, Jules Dassin did directed an interesting version of Poe’s ‘The Tell-Tale Heart’!

HELP! MY SNOWMAN IS BURNING DOWN**** (1965) was the winner of the Oscar in the mid ’60s and is ten minutes of pure surrealist experimentation and most importantly fun. Carson Davidson’s surreal masterpiece is worthy of Luis Buñuel. It’s been called “melding Magritte with Duchamp, but maintaining its own perverse American sense of humor.” A real classic.
It can be seen here:
- on March 22, 2012 at 3:30 am | Reply Sam Juliano
  
  Bobby—-
  
  Just watched THE SNOWMAN IS BURNING DOWN, and completely agree with you that’s a perverse classic!!!! I hope others here that check out this thread with press on the play button, to access this delightfully bizarre set piece on a boat equipped with an outdoor toilet bowl and telephone Ha! The satiric thrust aims at advertising, and there are some terrific surrealist images. Now my friend, you has planted that awesome jazz soundtrack in my mind for the rest of the week! God, I wish I could get that piece on a CD! It’s really excellent! What a treat you brought here to us Bobby!
  
  As I told Allan over the phone this afternoon, I am resisting a comparison of GAME OF THRONES and LORD OF THE RINGS as the latter is more consumately aimed at epic themes and a wider arc of fantasy in the settings, characters and extensive physical alterations. THRONES hasn’t quite duplicated that yet (at least not after the four episodes I watched to this point) but it brings elements from it’s cousin there, and adds some originality of it’s own. I am very impressed with Peter Dinklege, and can’t wait to know what happens on a particular (major) sub-plot concerning a young boy who survived two murders attempts (after witnessing a beheading) after seeing something taboo. It’s definitely a series that rquires full attentiveness, but it’s ravishing visuals, design and music keep you immersed to sort out the plot details. I’ve never seen anything quite like it. That opening scene in the forest is probably the most extraordinary to opening any series.
  
  I gave MONEYBALL 4 of 5, so I am not too far behind you in appreciation and enthusiasm. And I have been a huge baseball fan my entire life, so it resonated with me on another level. (But I am asuming from your reaction here Bobby, that you are also a fan of the sport) Anyway, although I’m a Yankee fan, I always respected American League teams, and well remember Beane’s eccentricity and that record-breaking streak (which I though was done exceptionally well in the film) Pitt did deliver one of the finest performances of his career, and usually dismissable Johan Hill (who was laughable in 21 JUMP STREET) gave his own finest turn in MONEYBALL. Hoffman was kind of wasted, but Miller loves the actor after he gave him that Oscar winning turn in CAPOTE.
  
  Still haven’t watched DOWNTOWN ABBY, but yes it seems most have been singing it’s praises. I am a fan of UPSTAIRS DOWNSTAIRS and will keep in mind your excellent delineation here. I also have not seen the short GOODBYE MISS TURLOCK, but I see it’s not one to track down. I did see Dassin’s THE TELL-TALE HEART and liked it quite a bit.
  
  Thanks for the utterly spectacular submission here (you and Jaime Grijalba have really outdone yourselves) and for introducing me to that surrealist gem! Have a great week my friend!
on March 21, 2012 at 9:03 am | Reply Murderous Ink

Thanks for the link, Sam.
Your capsule reviews on KID WITH A BIKE and GERHARD RICHTER PAINTINGS are so intriguing that I am determined to see them when they are in theaters here. Your mention of BICYCLE THIEVES alone makes the film worthy of seeing. DEVIL, which I never heard of, except Ken Russel’s disturbing work, is another film I would look for, when available. Your review makes me wonder why I have never heard of it. After all, I am still discovering many unknown territories, and great articles in WinD are full of them.
MI
- on March 22, 2012 at 2:23 am | Reply Sam Juliano
  
  MI—
  
  Thanks as always for stopping in. I have been keeping an eye at VERMILLION, but I know you’ve been busy with important matters at this time. I hope all is going well my friend. Yes, THE KID WITH A BIKE has made a very strong impression on me, and GERHARD RICHTER is one fascinating documentary, especially for art lovers like yourself. The Zulawski THE DEVIL was never a film that made the circuits worldwide, and was more of an eclectic piece that took decades to get some ser4ious exposure. But I would think you will find it quite riveting. This coming week I am hoping to see Terrence Davies THE DEEP BLUE SEA. Thanks for the kind words, and hope to speak with you soon!
on March 21, 2012 at 1:40 pm | Reply Frederick

The big news is the coming release of ‘Hunger Games’. Some are saying it’s clearly derivative, but still original in it’s own way. The film runs almost two and a half hours, yet it is said to hold the audience’s attention. And the word is that the film is better than the source material. I reckon it will equal the ‘Twilight’ series at the box-office and with the teen crowd.
- on March 22, 2012 at 2:19 am | Reply Sam Juliano
  
  I will be there with my brood on Friday afternoon Fred, (for the 4:30 P.M. show) so the proof will be in the pudding. I’ve indeed surveyed the notices and I’m pretty excited. I agree too that there appears to be some big box office potential here! Thanks as always my friend!
on March 21, 2012 at 2:51 pm | Reply Pierre de Plume

I dunno whether this has been on anyone’s radar, but I caught a screening of the Harry Belafonte documentary, “Sing Your Song.” It’s quite good — loaded with archival and personal footage that traces Belafonte’s life and career. Although the film loses a bit of focus toward the end, one feels it could’ve been twice as long and still only touch upon the many aspects of Belafonte’s life.
- on March 22, 2012 at 2:15 am | Reply Sam Juliano
  
  Pierre—
  
  I don’t know if you remember reading, but I had seen this film weeks back on it’s Manhattan opening. The 82 year-old Belafonte himself hobbled onto the stage with a cane to speak to the IFC patrons and was most enagaing and funny. He made one quip about calling Sidney Poitier to accompany him to some political hotbed and Poitier told him something to the effect that he would go but ‘never to call him again.’ I agree with you that it’s a solid documentary, chronicling an amazing life, and even to the extent that it does indeed lose a bit near the end. But yes, there’s a lot to tell here.
  
  Thanks as always my very good friend!

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The Kid with a Bike, Gerhard Richter Painting, John Carter and Zulawski’s ‘The Devil’ on Monday Morning Diary (March 19)

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